Documente Academic
Documente Profesional
Documente Cultură
JOHNSON
AN ABSTRACT LIFE
Ah
XIAN
Guy
WARREN
Sarah
CONTOS
John
HONEYWILL
ISSUE 34
artistprofile.com.au
Vivienne
SHARK
LEWITT
GUY WARREN, Mother and Child (Bush Idyll), 2015, acrylic on canvas, 159 x 180cm
Exhibition supported by
JAN SENBERGS
DRAWINGS
1 MARCH - 2 APRIL 2016
LOONGKOONAN
YIMADOOWARRA: ARTIST OF THE RIVER
PERTH 115 Hay Street Subiaco WA 6008 +61 8 9388 2899
art@mossensongalleries.com.au www.mossensongalleries.com.au
Glenn Barkley
Magic Object
2 danks street, waterloo nsw
phil i p b acon
ga lle r i e s
SAM FULLBROOK Anemones in a porcelain bowl c.1976 oil on canvas 65.5 x 70.5 cm
philipbacongalleries.com.au
2 ARTHUR STREET, FORTITUDE VALLEY, BRISBANE 10:00 AM 5:00 PM TUESDAY TO SATURDAY
TEL: 07 3358 3555 FAX: 07 3254 1412 EMAIL: ARTENQUIRIES @ PHILIPBACONGALLERIES.COM.AU
VIRGINIA CUPPAIDGE
Another Kind of Light
Virginia Cuppaidge, Pink Painted Field, 1979, crayon, gouache on paper, 35.5 x 41.9cm
Michael Johnson, Spiral VI, 1971, Lefranc Flash Vinylic on canvas, 183 x 179 cm
MICHAEL JOHNSON
Works from the 1960s-1980s
represented by Annette Larkin Fine Art
Robyn Burgess
& Heather Lyons
The Dressmaker & the Painter
13 April 29 May 2016
GEOFF TODD
BEAUTIFUL BEASTS
2ND MARCH 2ND APRIL
Hippocampoi, 122 x 213cm, acrylic, charcoal and metal leaf on canvas, (2015)
P 07 3254 2297
F 07 3254 0646
WWW.MITCHELLFINEARTGALLERY.COM
GALLERY@MITCHELLFINEARTGALLERY.COM
Yellow Cockatoos above Centipede Gully, 2014 [detail], Oil on canvas, 120 x 180 cm
Perth
The Old Perth Technical School
Level 1 / 137 St Georges Terrace
Perth WA 6000
Telephone +61 8 6465 4314
perth@lintonandkay.com.au
Subiaco
299 Railway Road
(Corner Nicholson Road)
Subiaco WA 6008
Telephone +61 8 9388 3300
subiaco@lintonandkay.com.au
Mandoon
Estate Winery
10 Harris Road
Caversham WA 6055
Telephone +61 8 6465 4314
info@lintonandkay.com.au
lintonandkay.com.au
SUSAN NORRIE
FIELD WORK
2006 2016
A Vizard Foundation
Contemporary Artist Project
Contents
016
PROFILES
018
072
CONTRIBUTORS
EDITORS NOTE
issue
GUY WARREN
by Steve Lopes
080
VIRGINIA CUPPAIDGE
by Lucy Stranger
020
by Joe Frost
084
AH XIAN
by Michael Young
090
JOHN HONEYWILL
PROFILES
046
SARAH CONTOS
by Chloe Mandryk
052
by Owen Craven
098
TONY TWIGG
by Jeremy Eccles
102
JOHNNY ROMEO
GLENN BARKLEY
by Kon Gouriotis
PREVIEW
COVER FEATURE
056
MICHAEL JOHNSON
by Anna Johnson
107-146
108 The 20th Biennale of Sydney and the 2016
Adelaide Biennial of Australian Art, by Sara Sweet
116 Archive: Joy Hester: a recollection by Ken
Whisson, by Joe Frost
120 Preview: Jan Senbergs by Steve Lopes
PROFILES
066
Contributors
THE AP TEAM
EDITOR
Kon Gouriotis
artistprole@nextmedia.com.au
ART DIRECTOR
TONY LOPES
is a commercial photographer and Euphoria
Photography Director, which specialises in
portraiture.
Kim Gregory
kgregory@nextmedia.com.au
JUDITH PUGH
WRITER
Lucy Stranger
artistprole@nextmedia.com.au
SARA SWEET
Jill Trochei
jtrochei@nextmedia.com.au
T +61 2 9901 6115
CHLOE MANDRYK
is a Sydney-based writer and curator. She is
theManager of the ARTAND Foundation, a
not-for-prot initiative supporting creative
practice in Australia.
SUBSCRIPTIONS
Jamie McIlwraith
CONTRIBUTORS
DOUGLAS PURNELL
SUB-EDITOR
016
JOE FROST
is a Sydney-based painter. He is a National Art
School Teacher.
ANNA JOHNSON
is an arts writer who contributes a monthly art
column for Australian House & Garden and
writes for Artist Prole.
www.mymagazines.com.au
Toll free within Australia: 1300 227 236
or +61 2 9901 6111
Locked Bag 3355
St Leonards NSW 1590 Australia
MICHAEL YOUNG
is a journalist and visual arts writer based in
Australia who regularly travels to China.
JEREMEY ECCLES
is a writer and broadcaster about the arts.
Over the spectrum of the arts, his speciality is
Indigenous art and culture.
LUCY STRANGER
is a Central West, NSW based arts journalist and
Artist Profile writer.
OWEN CRAVEN
is Curator at Urban Art Projects. He is a
former Editor of Artist Profile and Art Almanac
magazines.
Editorial contributions must be accompanied by return postage and will be handled with all reasonable care; the publisher
assumes no responsibility for the safety of artwork, photographs
or manuscripts. Nothing in this magazine may be reproduced
whole or in part without written permission from the publishers.
Privacy Policy
We value the integrity of your personal information. If you
provide personal information through your participation in
any competitions, surveys or offers featured in this issue of
Artist Profile, this will be used to provide the products or services
that you have requested and to improve the content of our
magazines. Your details may be provided to third parties who
assist us in this purpose. In the event of organisations providing
prizes or offers to our readers, we may pass your details on
to them. From time to time, we may use the information you
provide us to inform you of other products, services and events
our company has to offer. We may also give your information
to other organisations which may use it to inform you about
their products, services and events, unless you tell us not to
do so. You are welcome to access the information that we
hold about you by getting in touch with our privacy officer,
who can be contacted at nextmedia, Locked Bag 5555,
St Leonards, NSW 1590.
S T E V E LO P E S
T H E L AT E R I S E R
5 - 30 April 2016
Editor's
NOTE
John Honeywill, Turkish delight II, 2013, oil on linen, 31 x 31cm. See page 90.
018
Kevin Lincoln
Image: Kevin Lincoln Self portrait in mauve shirt (detail) 2008, oil on canvas, Collection: Art Gallery of Ballarat,
Kevin Lincoln / licensed by Viscopy, 2016
artgalleryofballarat.com.au
020
01
ROLE
REVERSAL:
ethical traps when curators become artists
WORDS JOE FROST
021
03
01
02
03
04
07
022
05
06
04
05
It will be intriguing to see whether curatorsas-artists will open the door for artists who
have never been within coo-ee of curatorial
attention or simply re-inforce the inner
circles of institutional favour. But putting
aside the question of whether this
development in our cultural life is good for
06
06
Painting
19 March 9 April 2016
Deiance Gallery at the Yellow House
5759 Macleay St, Potts Point
Works on paper
630 April 2016
Deiance Gallery, Newtown
ANN THOMSON
Est.1995
DEFIANCE GALLERY
DEFIANCE SCULPTURE PARK
47 Enmore Road, Newtown, NSW 2042
Directors: Campbell Robertson-Swann and Lauren Harvey
T (02) 9557 8483 / www.deiancegallery.com
Scalene
10 March - 24 March 2016
Maximilian Daniels
Nik Uzunovski
Caleb Reid
Maximilian Daniels, Sail Study #2, 152 x 152 cm, Acrylic and oil on canvas
PIERMARQ
*
GALLERY
ANNETTE BEZOR
PRECIOUS LUCK
2 April - 23 April 2016
113 Pirie Street, Adelaide SA 5000 | (08) 8223 6558 | hsg@hillsmithgallery.com.au | www.hillsmithgallery.com.au
KFJE+&"&&&
79GK?I?J?EDI
7D:7M7H:I
86AA;DG
:CIG>:H
c
m]^W^i^d
VaaZgnZ
<
a
V
c
GZ\^d
c^chjaV
\idcEZ
^c
c
g
d
6B
:CIG>:H8ADH:/
&*6EG>A'%&+
:M=>7>I>DC96I:H/
&+?JAN&&H:EI:B7:G
;>C9DJIBDG:6C9
HJ7B>INDJGLDG@DCA>C:/
LLL#BEG<#BDGCE:C#K>8#<DK#6J
8^k^XGZhZgkZ!9jcchGdVY
Bdgc^c\idcK>8(.(&
DeZcIjZhYVnHjcYVn&%Vb*eb
E]dcZ/%(*.,*)(.*
KEN DONE
Swimming in Jellyfish Lake, 2013, oil and acrylic on linen, 152 x 183cm.
1-5 Hickson Road, The Rocks, Sydney, tel 02 8274 4599 www.kendone.com
SPALDING
GESUNDHEIT
GESUNDHEIT
KARLEE RAWKINS
Lucky Catch
Just Draw
TONY TWIGG
ANNANDALE GALLERIES
110 Trafalgar Street Annandale Sydney NSW 2038 Australia T (61-2) 9552 1699 F (61-2) 9552 4424 annangal@ozemail.com.au
www.annandalegalleries.com.au Gallery Hours Tuesday - Saturday 11:00 - 5:00 pm Directors Anne & Bill Gregory ACGA
5 sticks in 3 places there not there and on the way 89 x 210cm 2015
Gippsland
Art Gallery
183 x 168 cm
Publication Sponsor
E: tweedart@tweed.nsw.gov.au
W: artgallery.tweed.nsw.gov.au
Accommodation Sponsor
Georgie Taylor
byronflowerista@gmail.com
BEST
SHOW
IN
T (02)6393 8136
Open: 10am to 4pm daily. Closed Christmas Day, Boxing Day & Good Friday.
Image: Tim Storrier, Smudge (detail), 2010, acrylic on canvas. Courtesy of the artist.
NSPP
National Self-Portrait Prize
Fiona McMonagle
Winner of the National Self-Portrait Prize 2015
3/&6\GQH\SUHVHQWVWKH
Adelaide Perry
Prize for Drawing
Exhibition of Finalists 2016
27 February - 25 March
2FLDORSHQLQJZLWKVSHFLDOJXHVW
0V-XOLH(ZLQJWRQ
LQGHSHQGHQWFXUDWRUDQGZULWHU
Friday 26 February at 7 pm
([KLELWLRQKRXUV
:HHNGD\VDPSP
6DWXUGD\VDPSP
&RUQHU+HQQHVV\DQG&ROOHJH6WUHHWV
&UR\GRQ16:
Phone
E$GHODLGH3HUU\*DOOHU\#SOFQVZHGXDX
www.plc.nsw.edu.au/microsites
%HFF2UV]J
$QGUHZ$QWRQLRX
3DXOHU3DQFDNHV
:HQG\%ODFN
)LRQD5DHUW\
%DUEDUD%ROW
&DQGLFH5HLG/DWLPHU
0DXGLH%UDG\
6DUDK5RJHUV
$QGUHZ%URZQH
(GJDU6FKLOWHU
$QQ&DSH
.XUW6FKUDQ]HU
7RP&DUPHQW
1HULGDK6WRFNOH\
0DU\DQQH&RXWWV
$GULDQH6WUDPSS
0DWW&R\OH
*DXUL7RUJDONDU
3KLOLS'DYLG
&UDLJ:DGGHOO
'DYLG)DLUEDLUQ
-HVVLFD%:DWVRQ
6WHSKHQ)HDUQOH\
+HOHQH:HHGLQJ
(ULND*RIWRQ
3HWHU:HJQHU
6XVDQ*RXUOH\
3DXO:KLWH
-DQH*UHDO\
7KHUHVHDQG&KULVWRSKHU:LOOLDPV
/L]+DUULRWW
*HR+DUYH\
0LFKHOOH=XFFROR
&DUO\+DZNLQV
3HL3HL+H
5DFKHO+LOO
-XG\+ROGLQJ
-XOLHW+ROPHV&RXUW
(DPRQQ-DFNVRQ
1LFROH.HOO\
0DUWLQ.LQJ
1HWWD/RRJDWKD
0DUFR/XFFLR
.LDWD0DVRQ
&DURO\Q0FNHQ]LH&UDLJ
Analaproudly
Artpresents.
Advisory
KellyAnne Love The Australiana Tattoo Series
Exhibition Title
The Australiana
Tattoo Series
Exhibited at
Project 504,
65 Berry Street,
North Sydney
Opening night
Thursday,
10th of March
Time
6-8pm
Exhibition on
show from the
10th March
25th March 2016
CAROLINE
RANNERSBERGER
SENTIMENT AND
SEDIMENTATION
16 March - 10 April 2016
Neck on site 21215 I-VI; And then there is the presence of the
land itself, the basic foundation, so low that it makes no noise
but its existence is undeniable and therefore it also factors in on
this spectrum. On the dark end...the black and white showing
both ends of the spectrum, and the sepia mid tones balancing
out the range 2015
ink, acrylic on 640gsm arches paper
6 panels, each 76cmx56cm
THE 64th
BLAKE @PRIZE
Casula Powerhouse Arts Centre
Exhibition 13 February - 24 April 2016
The Blake Prize is one of
Australias longest standing and
most historically signicant art
prizes. It is an opportunity for
contemporary emerging, established
and self-taught artists to engage
in conversations related to religion
and spirituality. The 64th Blake
Prize celebrates the diversity and
aesthetic practices related to belief
and non-belief within communities
across Australia and internationally.
www.casulapowerhouse.com
Jodi Daley & Badger Bates, Cailin & Tunjili - Steamers Point, Wilcannia3LJPHQW2LO3DLQW 6WHHO:LQQHUVRIWKHUVWSUL]H2XWEDFN2SHQ$UW3UL]H
2nd
Tamworth
Textile
Triennial
2014
GROUP
exchange
29 March to 4 June 2016
Vivian Chan Shaw 40 Years
A Retrospective
Operation Art
29 March to 14 May 2016
466 Peel Street Tamworth NSW, 02 6767 5248.
Open Tue - Fri 10am - 5pm, Sat 10am - 4pm
Closed Sunday, Monday & Public Holidays.
www.tamworthregionalgallery.com.au
046
Sarah
Contos
STORY CHLOE MANDRYK
047
There are many loaded terms which are put on your work,
bywriters and audiences, the idea of the other, ethnicity,
gender, worship some big canons of thought. Does this
connect to that Shakespearean idea that to speak universally
ithelps to be specic and have themes within your work?
How do you feel about that?
I just make stuff that I am interested in. It might be sparked from a
photograph or a conversation for example about how the colour
yellow wrecks everything in graphic design and then Ill be inspired
to make a sculpture that is only yellow made from yellow things. My
core interests revolve around identity, eroticism, femininity, popular
culture, history but my position on these constantly shift.
Are you collecting symbols through a lens of a cultural or social
anthropologist? Do you group signs together to comment on one
thing, like the 70s housewife or sex and fetish?
Yeah kinda. Its more like I am compiling stuff to add to my lexicon
or materiality language. The PVC or rubber can be seen as having
a BDSM feel, which there is, but at the same time it reminds me of
playground equipment. I love the duality of the dark and sinister
alongside the innocence of play and fun. In Kings Cross theres a
playground that looks like a sex-swing its great and confusing. I like
how one material can be seen in lots of different ways. And when you
add colour or object or material how does that conversation change,
where is the balance? Its kind of like cooking, different ingredients
together will generate a particular taste, and then how does that
change with a little squeeze of lemon at the end? Its taking things
from multiple sources and collaging them together and then seeing
what happens what is it saying? What does it taste like? The theatre
of space also aligns with my work. The recent show with Roslyn
Oxley9 was designed in such a way that as you entered up the stairs
the walls were dimly lit and the first impression was emptiness and a
bit uninviting, until you turned the corner and saw the warm lights
of the sculptures and the glow of the textiles. It creates drama where
everything has its rightful place to evoke something.
Its more about impulse, desire and attraction?
And intuition and play and process.
01
So what kind of position does that put you in, if youre not
attracted to something for a while?
I have to step away from it and press reset on my brain button.
Can you pinpoint why it is you are compelled to do what you do?
I love making and playing in the studio: when you are in that zone
and everything is coming together and its buzzing it is the best
feeling ever. I really put a lot of energy and emotion into what I do
so theres always a swinging range of feelings swirling about in the
studio. It must be annoying to my studio buddies as one minute Im
clapping my hands and punching the air with excitement and the next
Im weeping into my cuppa soup. This is why after each show I get
the post show blues quite bad. Its because Im not making or that
relationship with the work and high energy time is over. I feel a bit
lost, like Ive lost my lover or best friend.
Why do you think sewing, ceramics and the ad hoc crafty
approaches to making are popular?
Because people miss that in some ways. Theres a tactility we respond
to on a base level because theyve either done it in school or someone
they know has made them something from a bit of clay and felt. So
theres a sentimentality and power within the object. I also like the
idea of scrap-books, dcoupage and papier-mch are a bit daggy or
perceived as kindergarten medium or old lady-ish. Im interested in
how that responds to art-making in these techno-heavy and polished
contemporary times. I also think play is really underrated. When I
was super young I use to try to make perfume by crushing rose petals
in water and letting them sit in a pickle jar in the sun waiting for it to
magically turn into perfume. It always smelled bad. The result isnt
02
01
02
03
03
Just You and Me Dancing, 2015, glazed earthenware, light globes and ixtures, vinyl,
poly-il, faux pearls, found ceramic boot and thread, 76 94 27cm
Total Control, 2015, screen print on linen, various fabrics, poly-il, PVC, acrylic, spray
paint and thread, 173 275 5cm
Luxury Constraints, 2015, collaged screen print on linen, chains, copper, PVC and
thread, 135 130 6cm
04
with the space and try out lots of new things I havent had the time to
up to this point. Its going to be seductive and shiny and optimistic.
050
05
was a male or female making the work. Although Im actually not that
kind of artist and you can definitely tell that one person made all the
particular works in the show! And that there is a strong yet vulnerable
femininity inherent in the things I create. I love how contrasting
materials develop a harmony between themselves and I think those
relationships are exciting.
Are you inhabiting your space as an artist now? If youre always
thinking about being onto the next, your next project or idea, do
you think about yourself in this way as well?
I think about it all the time: who I am and what Im interested in
saying for this particular show. Its a thread that keeps weaving its
way through. I was listening to Nirvana and was thinking of this in the
art I want to make. I want it to be angsty, poppy, heavy, soft, familiar
and empathetic. I want to be honest in making work about where
I am in this moment in time but I also need to keep that childlike
fascination with objects alive, and keep playing and experimenting
and creating stories in my head of what this form is saying to that
form. To keep those both sides of my personality happy and fed, keeps
the art-making process fresh and pleasurable and therefore life: lovely.
EXHIBITION
Small Optical Tautologies
15 April 21 May
Australian Experimental Art Foundation
aeaf.org.au
Sarah Contos is represented by Roslyn Oxley9 Gallery
www.sarahcontos.com.au
www.roslynoxley9.com.au
04
05
BLACK HARVEST
Peter Tilley and Andy Devine
23 April to 5 June 2016
t^DE^t
d&t
Glenn Barkley
STORY KON GOURIOTIS
052
01
02
03
04
05
06
07
08
01
08
07
06
03
02
054
09
11
12
055
13
09
10
11
12
13
Glenn Barkley with Lyn Havilah, Carbuncle pot with drooping poly, 2015, stoneware
and terra sigillata, 25 x 13 x 15cm
Iznik Ignatz Potz, 2015, earthenware, 7 pieces, various sizes, installation dimensions
variable
Glenn Barkley in his studio at kil.n.it, Glebe, Sydney. Photographer Document
Photography
Small ancient pot with piercings and frog spawn, 2015, collage, ink and synthetic
polymer paint on paper, 12 x 12cm
Attic vase with golden shower and green dotz, 2015, collage and synthetic
polymer paint on paper, 18 x 26 cm
056
MICHAEL
JOHNSON
STORY ANNA JOHNSON
PHOTOGRAPHER TONY LOPES
01
01
058
02
060
03
Johnson can be an artist who argues with his own tenets across
simultaneous mediums. In his studio there has always been at least
ve major disciplines at play: the structural drawings (rough as guts
sketches scrawled straight on the wall or on scraps of paper), ink
and watercolour calligraphy studies, crayon and gouache works
on paper, small sculptures and found objects and then the main
paintings. All this and the random pages torn from science and
nature magazines, alluding to animal fur, comets and frog spawn.
Treading between the oil tubes, I didnt always see the changes
coming. Subtly but distinctly, the work seemed to shift gears in
cycles of decades, almost in the pattern of a gure eight spread
across 50 years. Johnson began with small anthropomorphic
landscapes in his late teens, he then rened to minimal geometric
abstraction throughout the 1960s and then, gradually, forged a
language of lyrical, gestural work dense in both line and paint.
Bythe mid 2000s the density of the surface in his paintings began
toclear. These hinted at the major change to come. It was a
transformation that culminated in his large mural Oceania high
lowwhich won the Wynne Prize in 2014.
Before the Oceania high low work reached the public eye it was
Johnsons big experiment, lling his modest studio to capacity
and, stylistically, providing something of an elephant in the room.
In terms of palette, surface and execution this was a departure
on a grand scale. The decision to place it in a public arena was
also fraught (having never entered an art prize in his career) yet,
ultimately, timely. While he had been busy going back to his roots in
terms of very streamlined composition, a new generation of abstract
painters were also embracing colourist minimalism. Perhaps some
of them were looking to the seminal exhibition The Field (1968)
which was such a strong part of Johnsons youthful manifesto.
And perhaps its just a seasonal shift in mood, the inevitable cycle
between excess and restraint.
To those who missed a few solo shows, the shift from soft to hard
might have resembled night and day. But the course is closer to
a continuum. Thesource of Oceania is not obvious at all I
had collected some images of cormorants diving and breaking the
skin of the water to catch sh. I interpreted the movement of this
by creating calligraphy drawings with large, thick brushes then
making a collage from the drawings, cutting into them to exaggerate
the space between the lines and the void. This said, the leap from
drawn line to at plane seems a long one. Where does he sit with
the constraints of change? I dont miss the touch or the gesture
03
061
05
04
04
05
Cormorant Quartet, 2015, oil on canvas, four paintings joined at 101 x 81cm
Oceania Study, 2013, Ink on paper, 60 x 80cm
064
06
065
hold keys to the content of this series. The paintings are talking to
the past but breaking into raw turf. Some of the colour is candied
and brittle, some of it has the melancholy depth of the 1960s and
some has a glazed gradation that oats like a veil. The dexterity in
oil paint has taken a new form.
When he talks about his work, formalism always butts up against the
sensate. BELOW/ABOVE were words scrawled on his studio
walls for years. Every conversation about the work leads back to
simultaneous opposites. Hecompares the experience of his colour to
immersion in water. In water the seal between skin and ocean can
be suspended. Momentarily we are the weightless whole moving on
a massive tide. Sometimes the sky becomes inverted and clouds reect
in miniature on the skin of the sea. The horizon can shrink contrasted
to fathomless depths below. If this artist had one wish for his work
perhaps it might be something like that. To generate a sense of
peripheral immersion that generates a pulsing haptic encounter.
The paintings have never had frames and where the frame ends is
a place that never interested him. He paints the perimeter of every
painting with another line of colour. He wants to keep going and
take you with him.
Michael Johnson is represented by Annette Larkin Fine Art
www.annettelarkin.com
06
07
02
They say a picture speaks a thousand words, and for Vivienne Shark LeWitt this is very
much the case. Not your everyday artist, in her work language plays just as much a part
as the visual does in the final product. With an impressive career and diverse range of
influences, her passion for narrative and wordplay has remained a constant. And now,
part-way through her PhD, the combination of writing and painting has even further
cemented Viviennes drive to explore the potential of this witty interplay.
01
02
03
03
04
05
06
04
69
06
05
way of writing, but it can say what you cant say in writing. If I could
write what I paint I probably wouldnt paint. Images can do things that
words cant do sometimes, but on the other hand words are really
important to me, in my titles and in my life in general.
There is an important interplay between your titles and your works,
there are not many left untitled
(laughs) Yes there has been one or two left untitled that I have had to
send off before Ive had time to think about it. Its weird, they are like
the ones that got away they always feel incomplete.
When you are creating a work, do you consider your audience and
their response?
Absolutely. Ive become very aware of this doing the PhD, which is
quite self-examining. I always feel I am communicating with somebody,
like what I am doing is addressed to somebody else. I really like it when
people laugh. There was a painting of a woman serving spaghetti
(Spaghetti, 1996) I remember Roslyn (Oxley) saying there was
70
07
71
09
07
08
09
Images courtesy the artist, Anna Schwartz Gallery and Roslyn Oxley9 Gallery.
Guy Warren
STORY STEVE LOPES
Guy Warren has inspired many other artists with his inventive and curious approach to the landscape and human
form. An Archibald Prize winner, educator and respected painter, his contribution to Australias visual culture has
been enormous. At 95, Guy Warren is about to have a much awaited special focus survey curated by Barry Pearce.
74
01
03
been landscape painters but they have all sat and painted the landscape
over there as though its something to be admired or analysed or used
in some sort of way. Very few have thought of it as being part of them
of them belonging to the landscape. Its like the Aboriginal attitude:
they are not separate, you are the land and the land is you. Thats
whyI have always often tried to make a gure in the landscape.
Itseasy to put a gure in the landscape in a painting but its bloody
difcult to make it look like the gure is part of its environment but
also an inevitable part of the painting. A symbiotic connection is not
easily won. I dont do it all the time and it isnt always successful to
incorporate the gure its not a dogma. At times I simply paint the
landscape as landscape. I always remind myself of that wonderful
phrase of Philip Guston who said, Art can contain anything you like,
except dogma of any kind.
01
02
03
Mother and Child (Bush Idyll), 2015, acrylic on canvas, 159 x 180cm
Landscape with Emu, Silverton, 2015, watercolour on paper, 53 x
73cm
Bush Walk, 2015, acrylic on canvas, 60 x 60cm
writer, poet, musician or artist have been so moving and vital that
they have left with you impressions and feelings that you want to put
into your work. Looking back I can identify the ones that meant that
much to me, and New Guinea and the rainforest were ones that have
never left me. There was a mad hitchhike I did around Australia with
a mate of mine which was a memorable experience; that mad canoe trip
I did down the Shoalhaven River with my brother when I was 16 was
another. We had to drag our canoes through the bushland, had terrible
accidents but we basically canoed from inland Goulburn to the sea. Im
better creating in the studio though than out in the landscape, better
when Im not there. When I experience it and then go back to the studio,
I dont think about it so much and let those memories take over and do
what they do. I prefer to work intuitively later on, than respond on the
spot. Im impressed by those who can get up there and paint immediately.
05
77
04
extraordinary, You know Guy, isnt it amazing that here we are, in the
middle of all eternity. What a thought! Most of us worry about our
three score years and ten, and you think of eternity which goes backwards
and forwards to innity, and heres Lloyd thinking of himself being a
unit, a signicant or insignicant part of that innity. Thats about as
close as you can get to a feeling of what you might call spirituality.
You have had longevity in the artworld and have been a
contemporary of a lot of great artists. Were you aware of your
place as a respected artist or your career trajectory?
Thats news to me! Maybe its just living a long time! As for career,
well I wasnt aware of it, and that was a great fault on my part.
Ishould have probably paid more attention to it. I knew people like
John Olsen and Fred Williams from way back and the thing I
admired about those two guys even as young men was they knew they
were going to have a career as an artist. That never occurred to me. I
just kept making marks but I assumed Id end up being a commercial
artist. It wasnt until in my 40s that it suddenly occurred to me after
painting for quite a while that I could achieve it. I had grown up
during the Depression and there was no money anywhere. My old
man was broke and the most important thing was to somehow get out
there and get a job. That was the imperative. I had been going to art
school since I was 15 and always wanted to be a painter, but
commercial art was the only option initially.
04
05
06
78
07
08
09
take corners intuitively. Some people must plan their lives and their
artwork, and bloody good luck to them if they can pull it off, but I
stumble along and turn corners or take pathways I didnt expect to
nd. Some of them are dead ends and some of them arent but you
hope to make some right decisions along the way. Art has brought me
richness in a way but it can also highlight your own limitations, but it
has never been boring. Im so grateful I wasnt a bank manager.
EXHIBITION
Guy Warren at 95: Genesis of an artist
16 April 29 May, 2016
S.H. Ervin Gallery
www.shervingallery.com.au
Guy Warren is represented by Olsen Irwin Gallery.
www.olsenirwin.com
06
07
08
09
Rainforest Blues, 1989, acrylic, oil and oil stick on linen, 274 x 274cm
Wingman and Mist (No. 1), 1985, oil on canvas, 89 x 102cm
Ian Fairweather Bribie Island, 1965, Photograph Guy Warren
Head over Heels Alice, 2015, oil and acrylic on canvas, 120 x 150cm
Auburn Botanic Gardens, cnr Chisholm and Chiswick streets, Auburn 2144.
T (02) 8745-9794, 9735-1222. W peacockgallery@auburn.nsw.gov.au
www.auburn.nsw.gov.au/peacockgallery H Tue-Sun 11.00 to 4.00.
01
Virginia Cuppaidge
STORY LUCY STRANGER
081
02
What impact did the changes of pace and culture, from Brisbane to
New York, have on you?
I always wanted to go to New York from when I was 14 years of age,
however I can say it now: I was very afraid of New York. When I got
on the plane I didnt have any plans, I was just hoping I could stay in
New York. If I hadnt met up with Clement Clem Meadmore, which
was not planned at all, it would have been a very different story. It was
a very dangerous city in the 1970s, more than I realised.
How did this move to New York feed your interests in abstract art?
I studied fairly formally, but my rst interest in abstraction was seeing
images of the Russian Constructivists. In New York, seeing modern
paintings in real life what an impact it had Jackson Pollock and
Lee Krasner. One artist that really inuenced me was Hans Hoffmann:
the Metropolitan Museum of Art had two big paintings of his in its
collection with these big blocks of colour. Id never seen anything like it
it was so modern and so brash. A big inuence on my Works on Paper
was after I had taken up a teaching assignment at the University of
California, Berkeley. It was a fabulous experience; I met a lot of
Californian artists, such as Richard Diebenkorn who did a series of
works called The Ocean Park Series. Brice Marden was also a huge
inuence. I was also fascinated with the minimalists, and it inuenced
my geometric works, like The Big Orange. Although, I can never be
areal minimal artist, I am too intuitive and expressive.
03
In your latest exhibition Another Kind of Light the images are quite
reductionist with their simple carved-out forms that seemingly float
across the paper. What led to this openness in your practice?
The thing about New York is everybody complains of the trafc noise.
I decided the place that I lived in had to be a quiet, tranquil place, and
felt a very emotional need to create this little sanctuary. I wanted to
make these sublime and beautiful paintings. With these works on paper,
Istarted to open up the space and just have little pieces oating across,
so the background became a big part of the work. I just wanted to
create something serenely quiet, in contrast to the life I was leading.
The exhibition returns to a series of works from the late 1970s.What
does this series signify for you as a turning point in your practice?
Its only in retrospect that these were what led me into the Skyspace
paintings. I wanted to bring light into the equation. Several people had
written this work is very Australian, and I found that at the time very
annoying, because I wanted to be international. I realised the light in
Australia is very different; when I am mixing paint I mix a little bit of
01
02
03
04
082
white into every colour I use. Its my colour palette bright colours or
black there is a tiny dab of white in them. I always remember the
Queensland sky, with the heat of the sun on a blazing hot day, its sunbleached light, and clear blue. I wonder if that is what is getting into my
paintings, because I definitely have a particular colour sense. I dont
mind my work being called Australian now because it makes sense;
we are deeply influenced from our childhood.
So wherever you were working in New York, there was always that
memory of Australian light, and capturing that in your work?
Yes, the works on paper I created just after I had been in California,
and the light is fantastic there, very soft but you can see more of it.
Working on Manhattan Sunrise from my loft in Soho, I could look
south in the morning and see the light. It is really important, because
New York is dark, it creates a yearning for sunlight.
Colour does get that prominence in your work, the background
isalmost moving to the foreground. How do you go about starting
a work?
When I start a work I get a taste of a colour, I get a visceral taste in my
mouth or body that I want to work with. In Pink Painted Field, I can
remember I got this very intense pink colour and when I finished that
one, I thought gee, what was going to be a big square of pink, looked
like a field it had an organic feel to it. I do a lot of layers of colour, in
Big Orange if they were to dissect that painting, you would find several
layers underneath, of slightly different colours. It is never flat colour.
This visceral taste, is that intuition towards colour a driving force
behind your approach or your practice?
Absolutely, Ill put that chosen colour down and then that colour will
demand what else it needs to liven the surface. Often paintings sit on
my walls for months before Ill put the next bit in there. Im not super
prolific, I shouldnt confess that because apparently youre not
supposed to. New York artists are so prolific that some people used to
say to me dont tell people you dont make so many works Virginia,
because they wont take you seriously. Ive never been able to do that,
you just have to wait until the painting talks back to you and tells you
what it needs.
You have been practising for over 40 years in New York now, but
you still continue to exhibit in Australia. What is the importance of
maintaining this connection?
Australians respond very intensely in a good way to my work. I think
they have a more direct response. Its easy to say in retrospect how all
this falls into place but when youre young, you have all these things
that you have a burning desire to do. But it all pans out slightly
different from where you planned. Then when you look back on it you
think oh yeah, thats what was supposed to happen. I kept up that
contact, even though I am living in New York Ive never wanted to lose
my Australian connection.
EXHIBITION
Virginia Cuppaidge | Another Kind of Light
Stella Downer Fine Art
5 March 5 April
Virginia Cuppaidge is represented by Stella Downer Fine Art
www.stelladownerneart.com.au www.virginiacuppaidge.com
04
MYMAGAZINES.COM.AU
artistproile.com.au/yourfriendtheenemy
PROFILE Ah Xian
Ah Xian
STORY MICHAEL YOUNG
Working with materials as diverse as cloisonn, porcelain, concrete, breglass, bronze and,
most recently, latex, Chinese-Australian artist Ah Xian has won major sculpture prizes and much
acclaimhere in Australia, his adopted home for the last 25 years, yet he is still not represented
byacommercial gallery. And in his former homeland of China, where he has a studio within
BeijingsSongzhuang artist community, he is barely known and has never been exhibited there.
ARTIST PROFILE recently spent time with this quietly spoken artist discussing his work, his complex
relationship with China, and the philosophy which guides his inventive, cross-cultural creative vision.
85
02
86
Avenue, three kilometres from the square. It was like a war zone.
Isaw 21 dead bodies lined up in the hospital bicycle shed, he says.
I asked whether the busts inherent solemnity alludes to 1989.
At the time I dont think it was that much political. I simply focus on
something more beautiful with Chinese tradition and history,
something more cultural. Some people understand them as political
because of the way the models eyes are closed and how patterns
cover their faces. But in my mind I think they are just beautiful
aesthetic objects rather than political statements, he says.
In 1990 Ah Xian ed China for political asylum in Australia and
eightyears working as a house painter in Sydney and part-time artist.
Theidea for the gurative porcelain pieces came to me in 1994. I was
in the Mao Goes Pop exhibition at Sydneys Museum of Contemporary
Art in 1993. I made some casts of my hands in plaster of Paris and
putthem into military boxes, like animation boxes. I was still stuck
with the idea of the Tiananmen killings and the violence but soon
recognised that the material I was using seemed too cheap and not
durable. So I thought maybe there could be something in porcelain,
which is a more valuable and durable material. That was how the idea
formed, he says.
After several months working at the Sydney College of the Arts in
1998 and later at Jingdezhen, the porcelain capital of China, in the
following year, the China China series of porcelain busts emerged,
with hand-painted cobalt underglaze and decorative motifs that oat
freely over the works surfaces. I have always been amazed at the
shape of the human body and how it has formed the centrepiece of art
for thousands of years, he says.
In 2007 there was a shift in the materiality of Ah Xians practice as he
explored the properties of cast concrete. I tried a number of new
02
03
04
05
06
07
08
09
10
11
PROFILE Ah Xian
03
04
05
87
06
07
08
09
10
11
PROFILE Ah Xian
15
16
89
Five years ago, bronze, which Ah Xian rst explored in 2004, began
to preoccupy him. It is a material which is historical, durable, heavy
and strange. It can last for thousands of years, he says. The bronze
busts for the Metaphysica series (2007) were shown in QAGOMAs
The China Project in 2009. These abandoned surface decoration in
favour of small everyday objects attached to the busts skulls birds,
sh, miniature monkeys, toads, lamps and gurines of Buddha bought
at Beijing ea markets, often in contrasting colours. These rest gently
on their heads, the place where Ah Xian believes souls and imagination
lingers. I choose the objects carefully. They are things from peoples
daily life, mass-produced at affordable prices. People keep these
objects at home. So I use them to symbolise peoples beliefs.
In recent bronze busts such as the Evolutionaura series (2011-13)
thedomestic objects have been superseded by more ambitious
metaphysical stone additions. Some are semi-precious stones, and
others are what are known in China as scholars rocks, which are
much prized among intellectuals. They seem almost to teeter
precariously on the skulls or cling deantly to the bronzes, which are
covered in gold leaf. It is, says Ah Xian, about beauty and nature.
Iuse gold colour against the natural colour of the rocks to emphasise
the contrast between the human body and natural forms. Eight
pieces from the series were shown as part of Dark Heart, the 2014
Adelaide Biennial of Australian Art, and two more from the series
were acquired in 2015 by the Art Gallery of New South Wales, where
they form a focal point in the gallerys Asian wing.
Ah Xians success since he moved to Australia 25 years ago has been
well earned. However he says he remains unknown in China and has
never been exhibited there. Not many people know my art back in
China, apart from the relatively small contemporary art circle. I have
been thinking about this conundrum of being known and not known,
and I wonder if I should change my approach to commercial galleries.
(Ah Xian has never had commercial gallery representation but has
exhibited once or twice at commercial galleries in his early years in
Sydney.) Everyone who sees my work says they like it. But in China
only those people who come to my studio can see the work.
14
15
16
Ah Xians studio
Evolutionaura14: Tai-lake Stone-2, 2011-2013, bronze, gold, Tai-lake stone,
77 x 44 x 26cm
China, China-Bust 70, 2002, porcelain carved relief and bitumen stained with
landscape design, 35 x 44 x 25cm
90
01
02
John Honeywill
STORY OWEN CRAVEN
John Honeywill is an artist of observation. His still-life paintings render his observations of
quiet moments of everyday, domestic objects. From a vase of wilting flowers to a delicious
piece of Turkish delight, his paintings observe the presence and stillness of the object in
a moment in time. Removed from their context, the subject matter of Honeywills hyperrealistic paintings is not driven by telling a narrative but, rather, by capturing the intrigue that first
caught his eye. ARTIST PROFILE met with Honeywill in his Brisbane studio to discuss
what captures his attention and why he is enticed by the simple things that surround him.
01
02
92
03
You paint within the realm of still-life a genre you love. How do
you go about nding subject matter?
Well, invariably its things that come into the house, in a lot of cases
theyll be things that just start attracting my eye, and sometimes that
can be a quick thing. Theres a little jug of wooden spoons thats on
top of the fridge at the moment that has kept pulling at me for the last
week. So I go through a period of verication in a way, asking Is that
something that would be good to paint? There is also the thing of
questioning: Does it have what I want? Does it deserve to be painted?
Just because it looks good or is attractive or whatever, does it meet
the things that I want in my paintings?
What are some of the qualities of an object that draw you back and
speak to you, or make it deserving of being painted?
Sometimes it will be a formal visual quality, but this is never really
enough. Up until recently a signicant thing was the relationship
between the objects, and thats still there, but often its an irrational
relationship which many people have done for decades or centuries.
Theres no rational connection between them, yet within a still-life
they will have that conversation so it makes it an interesting thing.
Other times it might be the quirkiness; a little bit of humour like the
Random House box. That one is a good example of how things will
just kind of nag at me. I had a box of books at work, in a Random
House box, and they just sat on the oor in my ofce at work.
04
05
03
04
05
06
08
95
09
10
also the relationship to the space around it. Thats the most important
thing really, and thats why when I paint I do all the background rst
because that seems to be the most critical part for me.
Still-life painting sometimes gets a bad rap as being a bit old
fashioned or pass, in the context of contemporary art. I dont
necessarily think that, but Im interested to hear what it is that
draws you to the genre and your subject matter.
Art is about the relationship you have with your world and my world
is here, so there will be naturally that domestic aspect. It isnt about a
corner of the house, it is purely about the objecct to it, but my interest
in still-life isnt that domestic scene. It isnt about a corner of the
house, it is purely about the object and the objects are things that
llike. I like to paint objects which have served us, not on a
sentimental level but objects which have acquired a human quality
over time. Ive always wondered what it is about the singular nature
07
08
09
10
11
96
Art is about the relationship you have with your world and my world is here, so there
will benaturally that domestic aspect to it, but my interest in still-life isnt that
domestic scene. It isnt about a corner of the house, it is purely about the object.
in my work often my works have that very singular central thing
which is potentially a very boring composition, but it is like an
offering in a sense. Sometimes it will be when people give me
something. A few years back Trish, my wife, gave me a bundle of
wrapped fabric, asking, How would this be to paint?. That is her
making me that offering, and in my painting it, it is a kind of return
offering I give back.
Youve said before that your paintings are often a conversation,
theyre talking to us about what they are, theyre histories
They all have meaning attached to them, whether its the meaning of
the fact that someone has given it to me or the meaning thats imbued
in the object. However, an intentional meaning is not something I
want to get caught up with paintings as a narrative. So thats why I
just always call them dumb names, like Lavender and Jar to avoid
that. But, at the same time they do have all that stuff in them, well
that is the hope.
www.johnhoneywill.com
John Honeywill is represented by Philip Bacon Galleries, Brisbane
www.philipbacongalleries.com.au
11
12
Welcome to Liquitex.
The home of Intermixability.
At Liquitex, we design all of our art materials to be fully intermixable.
This means our entire colour spectrum of Heavy Body Paints
is developed with maximum compatibility in mind, so that
Liquitex Sprays, Inks, Markers, Mediums and Paints work
seamlessly together.
Liquitex Heavy Body Paints have a thick consistency for
traditional art techniques using brushes or knives.
They can also be used for mixed media, collage and
printmaking. The high pigment load produces rich,
brilliant, permanent colour.
FREE
SAMPLE
To receive your FREE Liquitex
Heavy Body Sachet Sample, visit
www.jasco.com.au/designsmart
To find your nearest stockist, contact Jasco. Visit www.jasco.com.au or phone 1800 676 155
Australian Owned
and Operated
1800 676 155
Tony Twigg
STORY JEREMY ECCLES
01
01
02
99
100
03
04
06
101
Twigg offers chairs in his work Sleazen (2010/15). But his chairs
have ceased to have a seating function as theyre re-modelled to
conjure sensations in the minds eye of music-stands, possibly even
Star Wars stormtroopers and puppets that might just spring into
life. Indeed, dancers will perform with them in the Annandale
Galleries during Art Month.
Theyll also perform with the Twigg suitcase or at least its
skeleton. This certainly needed to be brought home from the
Philippines. Go to the National Museum in Canberra and see
historian John Mulvaneys Globite port, and you will see the
receptacle in which the bones of Mungo Lady were transported to
the Australian National University in Canberra for study after she
was discovered in the sand dunes at Lake Mungo in 1969.
Inelegant but it was the only container available. For Twigg, this
links his humble suitcase to the worlds then earliest example of
ritual burial practice, about 40,000 years ago, which not only
proved the extreme antiquity of Aboriginal civilisation but also
placed its origins in a ceremonial context. That suitcase is, for him,
the essence of Aussie identity.
So, the traveller returns to his wellspring from a not-undiscovered
country refreshed.
07
EXHIBITIONS
Moonbathing: March 2
Nature Morte/Still Life: March 12
Annandale Galleries
03
04
05
06
07
01
03
02
04
102
Johnny Romeo
Johnny Romeo is known for his energetic and visually arresting paintings that deal with
Pop culture. ARTIST PROFILE recently talked with the artist about his influences, his
relationship with street art, his studio process and what lies in the darker recesses of Pop.
01
02
03
04
05
104
06
07
105
08
06
07
08
Cryla Professional Artists Heavy Body Acrylic colours are characterised by their
thick buttery consistency, uniform eggshell inish and minimal colour shift from
wet to dry. Cryla acrylics are designed to retain the intended stroke when applied
with brush or knife making them the only choice for textured impasto painting
techniques.
These premium quality acrylics have been the professionals choice since 1963.
They were the irst commercially available artist acrylics and they pioneered the
use and acceptance of acrylic colours as a true artist medium.
The Cryla Heavy Body range was reformulated in 2010 and expanded to 87
brilliant, luscious colours with the addition of 27 new colours and is complemented
by the Cryla brush range speciically designed for heavy body acrylics.
Bendigo
Essendon
Richmond
Sunbury
www.arthousedirect.com.au
GREAT BODY,
UNIQUE TEXTURE
PUREST PIGMENT
Preview
ESSAY
REVIEW
108
132
by Sara Sweet
136
BOOK REVIEW,
MODERN LOVE
by Judith Pugh
archive
116
139
SUBSCRIPTIONS
JOY HESTER:
A RECOLLECTION
BY KEN WHISSON
by Joe Frost
process
PREVIEW
140
PAUL MILLER
by Douglas Purnell
120
JAN SENBERGS
144
VIEW AUSTRALIA
by Steve Lopes
124
JOHN BEARD
by Kon Gouriotis
128
EUAN MACLEOD
by Kon Gouriotis
DISCOVERY
146
YIORYIOS
107
artistprole.com.au
th
20 Biennale Sydney
2016 Adelaide Biennial
of Australian Art
108
ESSAY
SARA
SWEET
01
01
Lee Mingwei, Guernica in Sand, 2006 and 2015, mixed-media interactive installation, sand, wooden island,
lighting, 1300 x 643cm, photographer Taipei Fine Arts. Courtesy of JUT Museum Pre-Opening Ofice, Taipei.
04
03
111
05
06
Bul will deliver a newly commissioned sitespecic installation which involves smoke,
large balloons and LED lights which prompt
afuturistic vision of a nearly living city.
07
08
artistprofile.com.au
09
13
10
11
02
03
04
05
06
07
Lee Bul, Aubade III, 2014 (detail). Installation view (2014) at MMCA Hyundai Motor Series
2014: Lee Bul, photographer Jeon Byung-cheol. Courtesy National Museum of Modern and
Contemporary Art, Korea.
Marco Chiandetti, Sculpture for a Bird (Barn Owl), 2015, ceramic, Barn Owl, 14 x 15 x 19cm,
photographer Willem-Dirk du Toit. Courtesy the artist.
Ming Wong, Windows On The World (Part 1), 2014, mixed media installation with video,
photographer Glenn Eugen Ellingsen. Courtesy of Para Site and Spring Workshop, Hong Kong.
Richard Bell, White Invaders You Are Living on Stolen Land, 2014, synthetic polymer paint on
board, 90 x 120cm. Courtesy the artist and Milani Gallery, Brisbane.
Richard Bell, Embassy, installation view, 2013, at the 5th Moscow Biennale, Moscow,
Photographer Yackov Petchenin. Courtesy Moscow Biennale Art Foundation, Moscow.
Jamie North, Terraforms, (installation view), 2014, cement, marble waste, limestone, steel slag, coal
ash, plastic ibre, tree fern slab, Australian native plant species and Spanish moss, heights 165,
08
09
10
11
191, 223cm, all widths and lengths 26 x 26cm. Courtesy of the artist and Sarah Cottier Gallery.
Photograph by Ashley Barber.
Bharti Kher, Untitled, 2013, plaster of paris, wood, metal, each statue 123 x 61 x 96cm,
photographer PeterBeyes. Courtesy the artist and Hauser & Wirth.
Garry Stewart & Thomas Pachoud, Proximity Interactive, 2014, interactive multimedia
installation, installation dimensions variable, photographer Chris Herzfeld, Camlight Productions
Courtesy the artists and Australian Dance Theatre, Adelaide.
Gareth Sansom, And thus I clothe my naked villainy, With odd old ends stoln out of Holy
Writ, And seem a saint when most I play the devil, 2013-15, oil, enamel and pencil on canvas,
183 x 169cm (each panel), 183 x 507cm (overall), photographer Andrew Curtis. Courtesy the
artist and Milani Gallery, Brisbane.
Loongkoonan, Nyikina people, Bush Tucker in Nyikina Country, 2006, acrylic on linen, 61 x
61cm. Courtesy the artist and Mossenson Galleries.
12
114
Hiromi Tangos sculptures deeply plant within the work a symbolic story. Breaking Cycle
(lizard tail), considers the lizards self-defence mechanism of losing its tail to growing
another. Tango questions that if people had the power to shed parts of themselves in the
same way that the lizard does, could they heal their traumas and regenerate?
collecting history to consider the encounter
with contemporary art as one that has
much in common with the phenomenon of
encountering wonder in Wunderkammer.
She views the artists as contemporary
conjurors, who operate similarly to
magicians where hard work, repetition,
risk and experimentation result in a
transformative experience for the viewer.
Featured among the Adelaide Biennials
artists is Hiromi Tango, who incorporates
mediums such as performance and
sculpture. Her sculptures are skillfully
entwined with carefully chosen materials
and objects that deeply plant within the
work a symbolic and personal story.
Breaking Cycle (lizard tail), considers
thelizards self-defence mechanism of
losingits tail to growing another. Tango
questions that if people had the power to
shed parts of themselves in the same way
that the lizard does, could they heal their
traumas and regenerate?
Born in 1910, Loongkoonan is one of
Australias oldest living practising artists.
Her paintings depict her travels made on
foot over Nyikina country. Her connection
15
14
15
Hiromi Tango, Breaking Cycle (lizard tail) #3, 2015, pigment print on paper, 81 x 170cm, ed. of 6 + 2AP. Courtesy
the artist and Sullivan Strumpf, Sydney
Ramesh Mario Nithiyendran, Man With Mask, (detail), 2015, earthenware, glaze, gold, platinum and copper lustre,
epoxy putty and glass, 104 x 32 x 26cm, photographer Simon Hewson. Courtesy the artist and Gallery 9, Sydney.
Danie Mellor, Mamu, Ngagen and Ngajan people, Queensland, On a noncorreolationist thought I-XIV, 2016, c-print
on metallic photographic paper, 14 images, each 80cm (diameter), edition of 3. Courtesy the artist, Jan Murphy
Gallery, Brisbane and Sophie Gannon Gallery, Melbourne.
Clare Milledge, A Ninja in a Bread, 2015, oil on tempered glass and bronze, 130 x 130cm. Courtesy the artist and
The Commercial Gallery, Sydney.
Courtesy the artists, the Biennale of Sydney and the Adelaide Biennial of Australian Art
115
JOY
HESTER:
a recollection
by Ken Whisson
STORY JOE FROST
02
01
02
117
artistprole.com.au
04
03
118
05
06
119
07
08
03
04
05
06
07
08
01
Jan Senbergs
PREVIEW STEVE LOPES
02
03
05
01
02
03
04
05
121
artistprole.com.au
06
122
06
After
The Raft
of the
Medusa
PREVIEW KON GOURIOTIS
125
01
artistprole.com.au
He is almost forgetting
the subject of Gricaults
image to enable him to
express his feelings in
the act of painting ...
126
02
Additional works
Edition of photogravure copper plate etchings
(two editions, one in black and one in red);
A unique state edition TinType etching, comprises
24 individual tin plates; (the etchings are based
on Beards painting, After the Raft of the Medusa,
printed in collaboration with Bill Moseley).
03
04
127
05
02, 03, 04, 05 Details from After the Raft of the Medusa, 2016, oil and wax on linen, 500 x 700cm
Courtesy the artist
06
artistprole.com.au
Euan
macleod
PREVIEW KON GOURIOTIS
128
01
01
02
03
04
05
Together the 27 paintings in Euan Macleods new exhibition, Boneyard, deepen our
appreciation of Macleods familiar themes: his expressionist and symbolist
attention touniversal dichotomies such as life and death, driven by his emotions.
03
04
05
artistprofile.com.au
07
130
06
08
EXHIBITION
Euan Macleod: Boneyard
5-30 April 2016
Niagara Galleries, Melbourne
Euan Macleod is represented by Niagara Galleries,
Melbourne and Watters Gallery, Sydney.
www.niagaragalleries.com.au
www.wattersgallery.com
www.bowengalleries.co.nz
06
07
08
ASDBC19444.15
WE ARE
THE MAKERS
OF COLOUR
artspectrum.com.au
Like us:
Follow us:
Picture us:
artistprole.com.au
THIS IS MY
HERITAGE
REVIEW KON GOURIOTIS
01
132
01
02
02
133
04
06
05
03
artistprole.com.au
134
07
08
EXHIBITION
This is my heritage
Queensland Museum
Until 7 July, 2016
www.qm.qld.gov.au
07
08
artistprole.com.au
Modern Love:
the Lives of John
& Sunday Reed
REVIEW BY JUDITH PUGH
136
REVIEW Books
137
01
02
01
02
03
artistprole.com.au
04
138
04
SUBSCRIBE NOW
SAVE UP TO
38%
OFF
THE COVER PRICE
YES, please send me a subscription to Artist Profile for the term ticked below:
MY DETAILS:
Name: Mr/Mrs/Miss/Ms
Address:
ISSUE 6
ISSUE 11
ISSUE 12
Postcode:
ISSUE 7
ISSUE 10
ISSUE 14
ISSUE 17
ISSUE 18
ISSUE 31
ISSUE 33
At a cost of $21.99 each including delivery within Australia or New Zealand
This is a:
New Subscription
Renewal
Daytime phone: (
Email:
GIFT RECIPIENTS DETAILS:
Gift
PAYMENT:
I enclose my cheque/money order for $A__________ payable to nextmedia Pty Ltd
Name: Mr/Mrs/Miss/Ms
Address:
Visa
American Express
Postcode:
Diners Club
Daytime phone: (
Email:
Please provide phone or email in case of delivery issues
Name on card:
CVV: ________
Please tick if you do not wish to receive special offers or information from nextmedia or its partners via
email.
Cardholders Signature:
Please refer to www.nextmedia.com.au for the full Privacy Notice.
All prices available to Australian and New Zealand residents. Overseas airmail 8 issues AU$140 or 4 issues AU$75. Back issues AU$21.99 each for Australia and New Zealand, AU$25.99 for
overseas. THE ART DEAL 6 months comprising 2 issues of Artist Profile published quarterly and 6 issues of Art Almanac published monthly. THE ART DEAL 12 months comprising
4issues of Artist Profile published quarterly and 11 issues of Art Almanac published monthly. Limited back issues of Artist Profile are available all issues featured were in stock at time of
going to print. Expires 11.5.2016. Includes GST. This may be used as a Tax invoice. nextmedia Pty Ltd ABN 84 128 805 970.
MA/ART34
140
01
Paul
Miller
STORY DOUGLAS PURNELL
01
141
02
03
04
02
03
04
artistprole.com.au
05
06
07
05
07
06
Dee Jackson
Australian artist, Dee Jackson,
creates beautiful watercolour portraits.
Commissions welcome.
Portraiture by it its very nature is an
intimate experience. Preoccupied as we are,
perhaps from very different backgrounds,
there is always a human connection.
Dee Jackson
Tel (02) 9416 2265 / +612 9416 2265
Mob: 0439 986 452 / +61 439 986 452
Email: deejackson@deejackson.com.au
www.deejackson.com.au
Sydneys premier
fine art printer.
Specializing in original art reproduction.
Museum grade archival fine art prints on
a range of smooth and textured papers,
including Hahnemhle and Innova stock.
www.visionimagelab.com.au
Image courtesy of Mark Hanham
01
144
02
03
SHIMMER
Drawing a line in the sand between the rational and irrational, Wright
proceeds to step over it, transporting the viewers imagination into
a realm of possibilities. Sourcing eclectic imagery, from dystopian
architectures in Bosch-like labyrinths to fictional characters Bessie,
Fanny and Jo from Enid Blytons The Enchanted Wood, Wright creates
her own fantastical Wonderland. You can only pour yourself over
Wrights work, delving into the detail and imagery that teeters on
overwhelming. While one image triggers one trajectory of thought,
the multitude of Wrights works pushes the mind into seemingly
infinite wanderings. Wright skilfully plays with rhyme and reason, as
you wander through and wonder about the potholes and peaks of her
own creative musings.
Until 28 March
MONA, Tas
www.mona.net.au
Until 6 March
Wollongong Regional Art
Gallery, NSW
www.wollongongartgallery.com
25 March 29 May
Gippsland Art Gallery, Vic
www.wellington.vic.gov.au
BRUTAL TRUTHS
Vernon Ah Kee, the late Gordon
Bennett, and artists Destiny
Deacon and Virginia Fraser
respond to a global context of
displacement and oppression.
04
05
Until 9 April
Griffith University Art Gallery, Qld
www.griffith.edu.au
01 Gilbert & George portrait, courtesy the artists and Museum of Old and New Art, Tasmania, Australia. 02 Garry Sibosado, Minnimb (humpback whale), 2015, etched mother of pearl, natural pigment, 18 x 15cm, photographer Bernie Fischer, courtesy the artist and
Wollongong Art Gallery. 03 Helen Wright, Man of Flowers, 2013, woodcut print on paper, 120 x 80cm, courtesy the artist, Bett Gallery, Hobart and Niagara Galleries, Melbourne. 04 Grayson Perry portrait, photographer Kate Peters, courtesy the artist and the Museum
of Contemporary Art Australia. 05 Brutal Truths, Vernon Ah Kee, brutalities (triptych) detail, 2014, 180 x 150cm, courtesy of the artist and Milani Gallery, Brisbane. 06 Tom Roberts, A break away! 1891, oil on canvas 137 x 168cm. Courtesy the artist and the Art Gallery
of South Australia, Adelaide. 07 Spalding, Cootapatamba, 2015, oil on linen 122 x 153cm. courtesy the artist and Stanley Street Gallery. 08 Lisa Roet, Heartbeat, documentation still, 2014, courtesy the artist and the Australian Experimental Art Foundation.
artistprofile.com.au
viewAUST
09 Brownyn Hack, Sheep skull, 2014, ceramic, 13 x 16 x 12cm, courtesy the artist and Arts Project Australia. 10 El Anatsui, Stressed World, 2011, found aluminum
and copper wire, 440 x 600cm, courtesy of the artist and Jack Shainman Gallery, New York. 11 Derek Kreckler, Big Wave Hunting, 2011, courtesy the artist.
12 Heather Ellyard, Jerusalem detail from 20 Days of Meditation, 2015, mixed media, 18 x 220 x 12cm, photographer James McCardle, courtesy the artist and Janet
Clayton Gallery. 13 Peter ODoherty, The Washing up, 2015, acrylic on canvas, 122 x 122cm, courtesy the artist and King Street Gallery
VIEW Australia
06
07
TOM ROBERTS
GESUNDHEIT
Until 28 March
NGA, ACT
www.nga.gov.au
9 March 2 April
Stanley Street Gallery, NSW
www.stanleystreetgallery.com.au
11
08
09
BE CAREFUL NOW
A 4D video installation,
Roet immerses you in an
exploration of the complex
ape-human intersection.
Until 12 March
Arts Project Australia, Vic
www.artsproject.org.au
12
145
CONTINUUM 4
Part four of an ongoing project,
Heather Ellyard explores all that
matters to her, from black holes
to geo-politics, from the universe
to very small human details.
23 March 17 April
Janet Clayton Gallery, NSW
www.janetclaytongallery.com.au
FIVE DECADES
Born in Anyako, Ghana, El
Anatsuis abstract art is shaped
by his local vernacular of Ghana
and Nigeria. Turning everyday
materials into treasure, his
complex assemblages range
from wood, aluminium printing
plates, discarded tin boxes to
liquor bottle tops. Suggestive
of the contours of landscape
and cartography, the ceramic
and wooden sculptures visually
articulate the histories of
colonial and post-colonial Africa
alongside contemporary issues
of waste and the environment.
10
Until 6 March
Carriageworks, NSW
www.carriageworks.com.au
13
DISCOVERY Yioryios
02
01
146
Yioryios
I AM INTRIGUED with architecture,
particularly mid-century modern design and
the principles that dictate its aesthetics.
Though I appreciate the functionality of
architecture, it is the inherent values found
within its abstraction that inspires my work.
I am fascinated with being able to place my
body within a piece of functional art and to
be able to experience that art through so
many dimensions.
When I move around and within a space,
Isee how it can morph into its surrounds
asthe light changes, and it is this notion that
Iwish to capture. I attempt to deconstruct
the fundamentals of architecture, stripping
itof its functionality and order to be left with
what it is that creates the aesthetically
fascinating dimensions that I see and feel
when inside a well-designed space. The
architecture of Jrn Utzon and Harry
Seidler are of particular inspiration for my
current works.
As an artist, my inspirations also stem from
wanting to explore and manipulate particular
01
02
DISCOVERY promotes the work of unrepresented artists. Each issue our editorial team publishes the work of an emerging artist on this page based upon submissions sent to us.
Listening to the Rolling Stones (Yeppoon) 1986 (detail) | oil on composition board | collection of The University of Queensland, purchased 2011 | photo: Carl Warner
9 APRIL29 MAY
ROCKHAMPTONARTGALLERY.COM.AU